Chompy Chomp Chomp Party (Review)

December 6, 2022 by 2 Comments

Another day, another former Xbox Live Indie Game designed for parties that slipped through the cracks of time. In the case of Chompy Chomp Chomp by Utopian World of Sandwiches, since this is technically a new version that I haven’t played before, I can’t award it a YOU HEARTLESS BASTARDS award. Yet. The point of this review is to do my part to circumvent that. And actually, unlike many great XBLIGs that have since gone to oblivion, Chompy actually DID come back once before, in 2016, under the name Chompy Chomp Chomp Party for Wii U. I admit, I didn’t play it there. I never really liked the Wii U, which is what largely cemented my reputation as being “anti-Nintendo.” Which hardly seems fair or accurate. I don’t hate Nintendo. I just hated the Wii U. It hurt my hands to use it and it caused me to sink into whatever I was sitting on by several inches. Like, seriously, I weigh nothing, yet now my La-Z-Boy has a permanent groove of my ass embedded in it. Which actually is the only good thing to come out of the Wii U. Now, that chair only fits me and my bony ass.

Where was I?

La-Z-Boys. Good chairs.

No wait, Chompy Chomp Chomp. Good party game Chompy Chomp Chomp is.

Make sure to have everybody pick distinctive colors. When we let people pick ANY color, some were a little to close to each-other and it caused “confusion” which was code for “I’ll take any semi-valid excuse why *I’m* not winning right now.” While on the subject: yes, there’s a wide variety of colors to choose from, so if you have a player who is partially colorblind, there should be enough options to accommodate them without compromising gameplay. This includes an arrow too, if someone needs it.

Unlike yesterday’s review for Hidden in Plain Sight, where I had to make a case for the game being adaptable to all ages, there’s no question about Chompy being for everybody. Yes, this is one of the most frantic, unhinged party experiences in gaming, but it’s also one of the most simple to understand. It’s a cat and mouse chase where you are both the cat for one player and the mouse for someone else. In the main mode, you’ll have a ring under your feet that designates the color of the player you must eat. You score points for eating them, but while you do this, someone has YOUR color ring and is trying to eat you. After a few seconds, the rings will rotate around, often to the very person you’re chasing. The end result is chaos. Plain and simple. You can tell yourself you’re going to keep your wits about you, but you can’t. Games of Chompy Chomp Chomp turn on a dime. Leads vanish. The player in last can turn things around quickly. There’s absolutely no finesse. It’s madness. Out and out madness.

And it’s awesome.

Online play has been removed in favor of eight-player mode. I’m fine with that, even if we found eight players on screen at once to be too busy. You can also include bots, though I found the bots to be predictable and dumb even on harder difficulties.

It’s such a simple idea too. Keeping it real: I had planned to delay this review to much later this month, or even early 2023. In fact, I’d already warned the developers of this. But then, I played the first game I’ve played in ten years that I knew, beyond a shadow of a doubt, would have killed in an 80s arcade. It made me think of the only other game I’ve ever reviewed that I know in my heart would have been a major success if it had released in an arcade in 1982 – 1986. A game that, realistically, could have been done in that era, or any era, really. Coincidentally, after a long road getting there, that game had just re-released on Nintendo Switch last month. Then, fatefully, we had family visit us this last weekend. Family with game-loving little kids. When fate calls, you don’t even need to check the caller ID! My Dad says that, and it sounds wise so I’ll steal it here even though it makes less and less sense the more I think about it. Everybody agreed to help me out so I could do a couple party games for content. Like Hidden in Plain Sight, we had a rotation of eight players between the ages of 75 to 6. You literally couldn’t get a better variety of players to fully review party games with, since every possible age range and gaming background was represented here.

You would think the Pac-Man-themed maps would be perfect for a game based around eating. Where you don’t have to press any buttons and the act of eating is just touch-only, which essentially makes Chompy a glorified game of Tag (as in “you’re it!”). But, actually, we hated these maps. It’s nothing like playing Pac-Man. You’re not simply moving in four straight directions. You have too much range and movement. Cornering and sharp turns are too hard on these levels, and causes games to degenerate into contests decided by who gets hung-up on walls the least. Stick to levels with lots of room to run and large barriers that make it obvious where to turn at.

We were originally going to do eight player games. But, we actually found that the eight players all at the same time was a little TOO crazy and TOO frantic, and in some modes, almost impossible, really. Locating your Chompy in modes where players tended to cluster and keeping track of all the happenings was too much to handle. Also, some players couldn’t tell one color apart from another in the heat of battle (purple and pink especially caused issues, though it wasn’t alone in that), so we moved to four-player-only matches. Besides, most of us didn’t want to hold a single Joy-Con sideways. Does ANYBODY like using a single Joy-Con turned on its side? Maybe the worst controller Nintendo ever did, and that’s before you even factor in how quickly drift starts to overcome them. Anyway, once we focused on four-player play (and moved everybody onto distinctive colors), everybody had a blast. And, guess what? Over the course of a couple hours of playtime, everybody won at least once.

I was the sole person who liked ball mode the best. Everybody else voted for Zone Dash, but being a weirdo, I voted for this. Hold the ball to score points. For extra spicy chaos, pick an especially small map. Some of the maps are TOO big and too twisty-turny (such as the Pac-Man tribute maps that I talked about above). Really, we had the most fun with the small to medium-small maps.

I don’t mean to imply that skill won’t get you anywhere. It’s no coincidence that most games were won by me, Dad, or 9-year-old TJ, my God-Nephew who plays way too much Fortnite. Skill certainly does seem to matter. But, 6-year-old Sasha and 75-year-old non-gamer AJ also won matches too. When it comes to gaming, we don’t go easy on children or grouchy old fogeys in our house. It’s a long-standing policy of ours, because then when they actually do legitimately start to win games, it means something. It’s a rite of passage. So that one and only time I forced my Dad to lay down his king in a game of Chess was, frankly, a moment, and when the kids beat us at Chompy, it was their moment. Sasha’s several dead-last finishes where she became a kindred spirit of Inky, Pinky, Blinky, Clyde, and Sue probably didn’t feel great. Do you know what I’m sure felt great? When she beat us, straight-up, at the cupcake eating mode, which is like the main mode only there’s also cupcakes of your designated attack-color to score points with as well. It didn’t even take that long for Sasha to get good, either, and after that, she was always in the mix right at the end of games and sometimes it was her taking the match. The label “fun for all ages” has always been overused.. and often misused.. in gaming, but Chompy Chomp Chomp Party is fun for all ages and a cinch to get the hang of. Someone new to gaming can hang with seasoned pros in under an hour. Not a lot of multiplayer-only games can say that.

Spooky Party, the $2.50 DLC, gives you Ghost Mode, four new maps, and a new theme for the randomly-generated levels. Is it worth it? Not really. Death Match, where you don’t come back to life when eaten and the last person standing wins, was our universal choice for worst mode. Ghost Mode was the universal runner-up to that. Here, you’re sort of invisible, and can only get a kill when you phase-in. It’s not very fun and it’s not worth an extra 25% of the cost of the main game by itself, nor are the graveyard skin and maps. Really, the only reason to buy this is to support the developers by kicking them an additional couple bucks. Which is a good enough reason, I suppose. But, officially, Chompy Chomp Chomp Party: Spooky Party DLC is NOT Chick-Approved and doesn’t factor into the rankings of Chompy Chomp Chomp Party on the Indie Gamer Chick Leaderboard.

Plus, it really feels like they’ve wrung every possible variation of the formula out of it. There’s six modes if you buy the main package, plus the seventh reviewed in the above caption. Surprisingly, a couple of the modes that move-away-from the color-coded dynamic are very strong in their own right. Our favorite by far was Zone Dash. At the start of the match, players dash to be the first to touch a marker on the screen. Once a person touches it, Chompy becomes a game of Reverse Tag where being “it” means you have to run for your life. There’s two zones, and you have to dodge everybody else as you scurry between the two. You score points every time you reach one, but if you get eaten, that player becomes “it.” When you become “it” you receive a burst of speed to separate you from the pack of other players you’re no doubt a part of, plus just a hint of invincibility that wears off quickly. If the “it” player makes it to a zone, they get another burst of speed and are invincible as long as they stay in the zone, BUT, they can’t camp there. It’ll quickly disappear. This formula was just flat-out insanity, where making two full round trips between the zones was a very impressive accomplishment. More than likely, you’ll last only long enough to draw a single breath. I didn’t think anything Utopian World of Sandwiches could include would be better than the main game, but low and behold, Zone Dash was easily the best way to play. By itself, it’s one of the fifty most fun experiences I’ve ever had with an indie game. Everybody kept wanting to go back to it.

Make sure to experiment with different maps too. Use the built-in random generator, and actually write down the seeds that work. The only thing missing is the ability to design your own. Most of the maps included are pretty good. Some work better for some game types and not others. pictured above was our favorite map for Zone Dash.

So, what’s the catch? Well, I don’t think there is one. I worried that, eventually, someone would separate themselves and become too good for the game to be fun for anybody else. Now, I don’t think any one player could practice enough to become unbeatable at this. I think most games will ultimately become a mindless free-for-all. But, as long as you pick the right maps, it never stops being fun. I guess the one thing that’s missing is a map creator, or maybe the ability to customize your Chompys. Really though, Chompy Chomp Chomp Party is optimized for pick-up-and-play gaming. I reckon this will be busted-out at parties in the Vice household from now on. Especially if there’s a lot of kids or non-gamers. We were all hollering and cheering and yelling the whole time. The only things that I didn’t like about the gameplay can actually be adjusted. You can remove specific items from the game (including whammies that slow you down, or the over-powered speed boosts) or turn off items all together, or increase how frequently items are dropped. Actual effort and experience will be needed to figure out which maps make for the best gameplay, but once you have a feel for that, you can have someone jump in who doesn’t play video games at all. We actually had a ninth player, the too-mature-for-games Sarah, join us for a couple rounds after her kids pestered her into it. She reluctantly said “okay, yes, that was fun” when she handed the controller off a couple games later. She finished dead last every game, but still had a good time. It’s a game that refuses to be anything else.

You can save three maps, or you can write the seeds down. This was a lot of fun and we did use it, BUT, we also never did find a map where we were like “oh, we HAVE to keep that one.” I really think they should have included a map creator. Especially since Chompy lends itself to house-rules type of situations. The formula is versatile enough that you could probably invent an E-Sport within the game, ala Griffball in Halo, but without the ability to create a custom map for it, that’s not really an option yet.

Chompy Chomp Chomp Party is a game that could have happened in any era. It would have looked different in 1985, but the hectic gameplay would have fit right-in. In fact, the thing that’s always weirded me out about Chompy is that nobody else thought of this first. It’s so obviously fated to be an electrifying formula, much more than other arcade-like versus games, that it’s weird it didn’t exist until 2012. Seriously, what’s the definitive 80s arcade party game? Warlords? This is in an entirely different league. It’s the best indie party game I’ve played, and I’ve played a lot more than my review index suggests I have. The problem is, I’ve always had trouble getting players for them. That won’t be a problem with Chompy ever again. I’ll have my entire family saying “you HAVE to play this!” next time. That speaks volumes to me. I expected us to mess around with this for an hour, just enough for me to get one final review of it in. Instead, we played it twice over the course of two days, about four hours all-in, and would have kept playing if Sarah and her kids didn’t have a six hour drive in front of them. Do you know what the kids did on the way home? They played Chompy Chomp Chomp Party in the car, and when they get home, they knew they had a fourth player to join them if they pestered hard enough. Sarah called us Monday and said “what have you done to me?” We laughed. She said “oh, eat me!” I said “we can’t. There’s no online play!”

Chompy Chomp Chomp Party is Chick-Approved
Leaderboard Ranking: #33 of 306 Indie Gamer Chick-Approved Indie Games*
Top 94.8 Percentile of All 640 IGC-Reviewed Indie Games
Top 86.4 Percentile of All 306 IGC-Approved Indie Games
**Rankings based on time of publication. Check the Leaderboard for updated standings.
The original Chompy Chomp Chomp’s IGC Leaderboard position has been removed. Chompy Chomp Chomp Party is an updated version of the same game, not a sequel or a reboot, and is not considered a separate game. Please note, the original Chompy Chomp Chomp is for sale on Steam (link to sales page), but this review is not valid for it. For the original Chompy Chomp Chomp, read the original review here and the Second Chance with the Chick review here. Utopian World of Sandwiches declined to appeal this decision.

Chompy Chomp Chomp was developed by Utopian World of Sandwiches
Point of Sale: Nintendo Switch, Steam
$9.99 + $2.50 got chomped in the making of this review.

Filed under Nintendo Switch Reviews, PC Reviews Tagged with , , , , , , , , ,

Maddening Euphoria (Review)

October 21, 2022 by Leave a comment

Man, I miss the good old days when I’d spend $1 on a small-scale indie and two hours later I’d have a review posted for it. Back when I was the Queen of Xbox Live Indie Games, most of the games I’d select to feature on this blog, for better and for worse, didn’t require a massive time investment to deliver a verdict on. This week, I was feeling particularly nostalgic for that, so I threw on Maddening Euphoria by Allison James and her Chequered Ink studio. I didn’t even realize I’d already done a game by her, 2019’s Gyro Boss DX. It was, you know, fine. Nothing special, but also nothing specifically wrong with it. It’s a Top 100 game on the IGC Leaderboard (#79 as of this writing) that also holds the rare distinction of being one of those games I’ve kept playing after the review was over. To this day, if I have my Switch and I only have five to ten minutes to kill, I’ll either boot-up Gyro Boss DX or Not Not. I’ll have a lot more fun messing around with them than I will having my iPhone scream at me to buy micro-transactions even on games that in theory shouldn’t have any. The medium NEEDS those quick burst, nothing gained, nothing lost type of games that make otherwise boring wait times pass faster. I can’t imagine someone in a line or a waiting room saying “I only have ten minutes. Let’s see if I can get a little further in Breath of the Wild!”

Maddening Euphoria has simple, stark graphics that remind me of Lumines. Along with the soundtrack, it gives the whole game a music video-like vibe. Oh, and since there’s really no place in the actual review for me to bitch about this, this is one of those games that blocks you from recording clips with your Switch. Screenshots only. Very maddening, but not euphorically so.

Maddening Euphoria is cut from the same cloth as Gyro Boss DX in that it’s optimized for short play sessions and based around challenging your own high scores. And, when I say short, I mean most of my rounds lasted a matter of seconds. It’s sort of like a randomly-generated version of the Impossible Game. A punisher where you must outrun a pace bar while leaping over pits and spikes. I’ve got a lot of grievances to air with it, so please keep in mind that I ultimately enjoyed this game. I thought I’d put an hour or two into it and be done. Two days later and I’m finally typing this review WHILE still playing it, and that counts for something. Of course, I’m still playing it while typing because I’m trying to figure out how to explain what exactly is happening. Besides the random layouts, the hook is that you’re running on an ever-rotating cylinder. You’re always somewhere near the top, and the further you distance yourself from the pace bar, the sooner the layout in front of you seems to spawn. I think.

Is that a llama or an alpaca? I can never tell the difference. One or the other spit in my Mom’s face once. She had it coming. She called it ugly. It was kind of ugly. The best part was it smiled right before it did it. One of the most unforgettable moments in my family’s history.

There’s no tutorial, explanations, or instructions besides telling you to move and jump. This led to some weird issues. Like, I thought the high score listed in the corner was broken. Nope. You see, there’s 36 different “themes” which is basically color schemes, and the displayed high score is only for the specific theme you’re playing. The game defaults to shuffling randomly through themes, and I didn’t realize that. This made me think “oh, wait, it’s NOT randomly generated and the themes are like levels and do specific objects in specific orders.” Nope, they’re definitely randomly generated. If certain themes are more likely to spawn certain types of levels, I didn’t catch onto it. There’s only so many types of ways Maddening Euphoria’s formula can generate a stage, and if the themes influence it, it’s subtly so. Of course, 36 themes means that, instead of having one high score to challenge yourself over and over again, you have 36 to go through. That gets annoying. Why not have both the theme high AND the overall high on display?

In addition to play modes where you’re always jumping or where you run automatically and can’t move backwards, there’s 155 special challenges that you can play separately. Do you know what the problem with these are? YOU GUESSED IT: the levels are still randomly generated. It begs the question: why even have challenges separate from the main modes? Why not just have them check off like achievements through normal gameplay? Once I realized that the maps for the challenges were randomly generated, I quit playing them, because I’d rather go for a high score. In the unlikely event I have a game that lasts an hour (the 155th and final challenge here) I’d legitimately kick myself for wasting it on the challenge and not the main game.

The cylindrical platforming is a nice novelty, but it also creates visibility issues. One of my biggest gaming pet peeves is blind jumping where you could possibly either fall to your death or stick the landing, with no way of being able to logic out how to fall. Unless I’m just terrible at this (don’t rule that out), there’s a lot of blind jumps in Maddening Euphoria, especially when you have to bounce off a trampoline and/or clear a large gap before seeing what comes after the gap. The nature of the game demands split-second judgment, but I’ve been killed by moments where, at the time the jump happens, there was no way of knowing where to land until I was too committed to change direction. Actually, there were many instances where I honestly question whether the layout was even survivable. I’m sure it was, but it probably required absolute perfection in terms of what pixel to jump off of and how far you had to press on the stick mid-air. Maddening Euphoria is a game where your high scores will be heavily influenced by how lucky (or unlucky) you were with the game’s level lottery. I wish they had just done 36 levels hand designed stages. Mind you, I’m not anti-procedural. The #1 ranked game on the Indie Gamer Chick Leaderboard as of this writing, Dead Cells, is also randomly generated. But, as I’ve noted in reviews for games like Chasm (which I loved) or Cloudberry Kingdom (which I didn’t), while I’m sure creating an algorithm that works every time is difficult, randomly generated levels will always be inelegant and make luck factor in as much as skill.

When the pace bar is close to you, a meter charges up. Fill up the meter and you gain a “second wind” which gives you a massive speed boost. You can use this strategically by deliberately teasing the bar, but there’s many risks involved. If you’re mid-jump and the layout is spitting out narrow platforms when the meter fills all the way, the second wind will probably kill you, since aiming your jumps with the enhanced speed is very difficult. Oh, and Second Winds spawn flashing triangles that give you a letter in E-U-P-H-O-R-I-A. When you fill that up all the way, you get a longer speed burst and all the spikes disappear. I don’t know if it lasts forever. I always died shortly after getting it. The controls are solid, until the speed boosts kicks-in, at which point you lose precision. In a game that demands precision, this is a problem.

Personally, I don’t really get the appeal in randomly generated stages. I never will. They’ll never have the elegance that hand-crafted stages have, and that’s all there is to it. Procedural generation’s promise of “never being the same game twice” is completely bullshit. It’s always the same game, every single time, and to say otherwise is like saying any game with random elements such as dice rolls or cards is never the same game twice. To Chequered Ink’s credit, Maddening Euphoria doesn’t use the bullshit “never the same game twice” spiel in its advertising. Plus, it only costs $1, which is a steal. For all the bitching I just did, seriously, this is worth more than $1. I turned this on and expected to play it for an hour and write this review. That was Wednesday. Now it’s Friday and I’ve put seven hours into it. And I really, really hate blind jumping and leap-of-faith platforming, so that speaks volumes for good this is. For all the unfairness and problematic design, every time I turned on Maddening Euphoria, I couldn’t put it down for over an hour. It has a potently addictive “just one more round” quality that the best modern arcade-style games have. Yea, I wish that they’d gone another direction with it, or at least hand-crafted the challenge levels, but I keep going back to how I’d find myself looking at the clock as I played this and say “shit, where did the last hour go?” Only time will tell if this will find its way permanently into my “I only have five minutes to kill” lineup. I’ll say this: if that time is spent with Maddening Euphoria, it should pass quite quickly.

Maddening Euphoria is Chick-Approved
Leaderboard Ranking: #134 of 304 Ranked Games*
Top 79 Percentile of All IGC Indie Reviews
Top 56 Percentile of All IGC Approved Indie Games
*Rankings based on time of publication. Check the Leaderboard for updated standings.

Maddening Euphoria was developed by Chequered Ink
Point of Sale: Nintendo Switch, Steam

$1 was spat on by an alpaca in the making of this review.

Filed under Nintendo Switch Reviews, PC Reviews Tagged with , , , ,

Q-Yo Blaster

August 6, 2019 by 1 Comment

Shmups aren’t normally my thing. Well, I say that at least. Upon reflection, I realize they’re in the same category as tower defense games. I say they do nothing for me and typically don’t seek them out. But, if I find myself playing a good one, I get sucked into the experience as much as any title from a preferred genre of mine. And, let’s face it, if you absolutely need to scratch that white-knuckle action itch but don’t have a lot of time to invest, a shmup is probably the best bet. It’s one of the few genres that can get away with a game that’s done in under thirty-minutes. As it should be. Imagine if Gradius was a ten hour long game. It’d suck. You’d be in physical pain by time it was over. Thirty minutes is perfect. It’s not even enough time for the logic center of your brain to say “just because we see the game from a side-perspective doesn’t mean it’s really taking place on a single line of existence that both the good guys and bad guys agreed to stay glued to with all their bullets traveling along that same line, right? Because wouldn’t it make more sense if a slow moving bullet was coming at you in a bullet-hell to just side-step it, move a little to the left or right, instead of up or down into the path of more bullets? 2D games make no sense, yo!”

Of course, you can say that about any 2D game. Moving on..

The game looks like a fever dream and a bad acid trip made horrible, disgusting love and this was the end result.

A session with Q-Yo Blaster can be finished in around thirty minutes. Knowing that, and seeing its gorgeous cartoonish visuals, you might mistake it for the type of shmup that’s all style and no substance. But this is a deceptively deep shooter. For starters, you have three different character types to choose from: Endurance, Damage, or a balance of both. There’s sixteen total characters to choose from, each with unique stats and an options. Sixteen! And trust me, playing as each feels just barely different enough that replaying the 30-minute quest doesn’t start to get stale. Plus, there’s multiple different play modes, with some items and weapons only available in higher difficulty levels.

Actually, that bit is sort of a dick move. There’s really no reason why weapons like the drone, laser or homing missiles should be excluded from easy mode. It’s like telling a person incapable of playing on higher difficulties that their dripping pussy ass deserves to have less fun. I don’t get it. Presumably a person playing on easy would be more likely to recommend the game to others and help developers sell more copies if they’re not gated off from having as much fun as everyone else. Developers who choose to gate based on difficulty really seem like they forfeit the right to bitch if their game doesn’t sell. Don’t get me wrong, I had a lot of fun with Q-Yo Blaster and it’s going to be an IGC Top 50 game as of this writing. But I’ve never understood why the 2D shooter genre specifically does this type of stuff habitually: stripping out phases or weapons or bosses or ending. Is it because games like Contra III did it back in the day? Is it a way of pandering to hardcore genre fans, saying “look, we don’t want the casuals leeching off our coolness any more than you do, so we’re going to keep them from getting to play with the coolest toys.” I don’t know. I do know that your Cupheads or your Q-Yo Blasters would do better if people of all skill levels felt equally welcome, and they don’t.

See the weird octopus vagina thing in the dead center of the screen behind everything else? The one labeled “blood?” Yea, that’s not a boss. While you shoot at enemies, every bullet that hits fills up another charge meter. When that one fills up, it automatically unleashes some kind of super attack that clears the area and does low-to-moderate damage on bosses. It’s a neat idea, but it’s hard to really harness the potential of it because, being a shmup, there’s already so much shit you have to keep track without having another meter to keep glancing at. I wish the game let you manually use it when the bar fills up instead of auto-firing. About a third of the time, the thing would go off while I was clearing the last enemy on the screen.

Having said all that, Q-Yo Blaster’s thirty-minute quest, even with the cooler weapons gated off, is pretty engrossing. There’s a bonkers story tying all the animated cliches together, but it’s overly long and very poorly translated, with tons of grammar errors. Skip it and just pretend you’re in a game where Roger Rabbit’s Toontown is being invaded by insects. Levels can be very short (the first level barely lasts 30 seconds before you fight the first boss), but the variety rarely lacks and most of the bosses are memorable and fun to do battle with. If this were a basic, no-frills shooter, the setting and character design alone would make it stand out in a crowded field. And then it would disappoint, because nobody should want a bland game just because it’s pretty to look at. Then again, people do accept blandness as long as it’s pleasant on the eyes. It’s how Paul Walker and Jessica Biel became stars.

But Q-Yo adds strategic elements like the ability to collect “pulses.” Activating them turns all the enemy bullets on-screen into collectable energy that you can use to charge your own super weapon. It’s a fun concept that doubles as both a planned attack and an emergency get-out-of-dodge button. Plus, while you can select between using a mega laser or a shield as your super weapon on the character select screen, using the mega laser also will clear any bullets directly in the line of the blast, effectively making it a shield. You’ll need this for certain boss fights, especially on the normal difficulty. You get upgrades between each stage, but I wish those upgrades allowed things like increasing the amount of pulses you can collect. The upgrades all work, but they don’t make you feel like you’re gaining significant power. They’re small edges that you might not even notice are happening, like increasing your own bullet speed. With some characters that increase is so slight that it practically makes no difference. Also, you can choose to get a 1up between each stage, but you get a ton of continues on both easy and normal, so really the 1up is every bit as stupid a choice as taking the potion over an extra heart container from the old lady in the original Legend of Zelda.

While the power shots are visually impressive, I wish they felt more powerful than they actually are. The noise it makes sounds less like unleashing a devastating blast of energy upon your enemies and more like the type of noise a cheesy 70s sci-fi movie would use to signify characters hanging-up on a telecall.

Ignoring the easy/normal crap, the biggest problem with Q-Yo Blaster is the game sorta chugs in terms of performance. It’s hard to explain, really. The best way I can describe it is if you’ve ever tried to put an emulator on a computer or game device not powerful quite enough to run the games for it. Q-Yo Blaster on Switch feels like a Super Nintendo game being emulated at around 90% efficiency. It works, though sometimes the frame-rate stutters (rarely in the middle of action, though it did happen once or twice) and the game never feels smooth. Thankfully, responsiveness doesn’t take a hit. The controls are fine-tuned and apparently compensate for the engine’s short-comings. Still, while Q-Yo Blaster never crashed on me, it always feels like the game is barely holding together and could shit the bed at any moment. I can’t remember the last time I played a game so good that felt so rough. Q-Yo Blaster is a finished, completed game, but it also feels like a proof-of-concept prototype with its short levels and choppy animation. It’s the damnedest thing. It’s so jarring that I wonder if it was done deliberately. Odd stylistic choice if so, but then again there’s people that think girls want to sleep with guys that have a pierced cock. We don’t. Gross.

This is your brain on drugs.

Take all this with a grain of salt because I’m not an expert on this genre by any means, but I had a lot of fun with Q-Yo Blaster. Accessible even to non-fans, quick-enough that it doesn’t leave time to get old, complex enough that genre veterans should still get value out of it, and loaded with enough characters and modes that you get value for your purchase, thirty-minute length or not. This is a very good game. But, I worry about it. It’s been out for a while, yet nobody is really talking about it. It had a successful Kickstarter campaign, but it wasn’t a big campaign so nobody really knows about it anymore. It offers a 50% discount if you own any other game by publisher Forever Entertainment (which, if you’re a Switch owner, is pretty likely. They’re one of those companies that does blow-out $1-or-under deals on their mountain of titles all the time), but you wouldn’t know by going to Nintendo.com because the store page only mentions it when you’re on the actual eShop on your Switch. It’s one of those games that’s destined to win my “You Heartless Bastards Award” in the next few years. Q-Yo needs word of mouth, but I’d never heard of it until the moment I bought it while randomly browsing the eShop. It’s worth checking out and you totally should. Even before I moved up difficulties and discovered easy mode gated out weapons, I was having fun. After that, I was just having fun while being slightly annoyed, like having sex in a room full of house flies.

Q-Yo Blaster was developed by Team Robot Black Hat
Point of Sale: Nintendo Switch, Steam

$4.99 (normally $9.99) wore the black hat in the making of this review.

Q-Yo Blaster is Chick Approved and ranked on the Indie Gamer Chick Leaderboard

 

Filed under Nintendo Switch Reviews, PC Reviews Tagged with , , , , , , ,

TORIDAMA: Brave Challenge

February 1, 2019 by Leave a comment

It’s #DiscoverIndies Friday. But, while I’m the creator of the movement, it’s harder than it sounds for me to actually participate. I’m a game critic who purchases all the indies I review. That requires a lot of marketplace browsing. There’s not too many games I’ve missed. So I have to cruise closely towards new releases. And very, very early this morning, I found my hidden gem. It’s called TORIDAMA: Brave Challenge. It’s a cross between WarioWare and Chicken. Not in the bucket of fried sense, but as in, “how close can you come to dying without actually doing it?” I’m a chain smoker, recovering drug addict, and a video gamer that suffers from epilepsy who is currently running through older, flashier titles. Guys, this game was fucking made for me!

This seems slightly like jabbing the hornet’s nest with a stick.

For example, there’s a game literally based on Chicken with a car. There’s a car. There’s a cliff. You have to hit the break to stop the car as close to the cliff as possible without going over. It sums up the concept of Toridama best. Press button to not die, but come close enough to kick the Grim Reaper in the balls. Which probably should have been a game in it now that I think about it. There’s only nineteen total minigames in Toridama, but really, how many variations of this concept can you possibly squeeze out? As it turns out, not even nineteen. There’s an RPG style minigame where you have to stop a meter as close to the center of a bar as possible. Yes, you can choose to run away, but success requires you to keep trying the meter. It sort of betrays the theme, but really all the games are about timing stuff. Probably the one furthest away from the core concept requires you to cook meat using lava by tapping the button to keep yourself as close to the edge of the lava as possible over the course of ten seconds. Yea, you’re still kinda tempting death and testing your courage, but it doesn’t compare to a game based around waiting to open your parachute as close to the ground as possible. I.. uh.. wasn’t so good at that one.

To be clear: it’s a great theme for a game. It’s clever. But Toridama is relatively light on content and what games we do have wear thin quickly. And some of them are extremely fickle about what constitutes a failure or a pass. Each game has a maximum score of 9,999 points. But with some games, there’s apparently so thin a line between scoring in the 5K range, scoring the 10K, or failing that it feels less like skill and more like sheer luck. And that extends to the online leaderboard, which you land on via “Crazy Mode” that requires you to score 9,000K or more or to advance to the next game. The games are thrown at you in random order and I was fucked more than once over 200+ attempts at posting a big score on the board. Filling a Martini glass with “juice” (uh huh, nice way to dodge that T or M rating), getting it right to the lip and still only scoring in the 5K range? Seriously? Who fills that tall away? Alcoholics don’t. It means more booze you have to slurp from the table. Or the carpet.

TORIDAMA is apparently multiplayer-focused, but unless that’s ALL you use it for, you won’t find it fun.

Toridama starts you with a single player mode that fires three random games at players and rates how big or little a chicken you are. Its only purpose really is to unlock all the games and Crazy Mode. You’ll never want to touch it afterwards, since scoring three really good scores in a row is hard enough. You’ll regret not playing Crazy Mode since those can go towards your online score. And there’s a multiplayer mode, but it suffers the same fate so many games do: the person who owns the game will have a significant advantage over friends trying to compete. One that is probably insurmountable. I played against basically everyone in my family and never lost a single match. My family sucks, as evidenced by the fact that I’m part of it, but still, it’s telling that multiplayer is the focus of the package (2 Player mode being the first option in the menu) and yet the actual multiplayer mode really isn’t very fun.

As of this writing I’m #33 on the global leaderboard. While I wish I could brag about this, it really feels like the ordering of games lucked me into this spot. Still, top ranked American. Could be worse.

Now, take this whole review with a heaping spoonful of salt. I love WarioWare and I’m predisposed to enjoying any collection of microgames. And I did have fun with Toridama. But what’s here feels light on content and destined to get old quickly. It’s satisfying to stop a bomb just 0.03 seconds before it detonates. It is fun to let an alligator come this close to eating your face only to back away at the last possible moment. But Toridama is too random and not tightly enough designed to keep anyone focused on it. Which is ironic, since it counts on people with incredible short attention spans to be its audience in the first place. It took me two-and-a-half hours just to finish this last paragraph!

TORIDAMA: Brave Challenge was developed by G-Mode
Point of Sale: Nintendo Switch

$3.50 (normally $5) noted G-Mode found my G-Spot in the making of this review.

TORIDAMA is Chick-Approved and ranked on the Indie Gamer Chick Leaderboard

Check out the latest reviews at Indie Gamer Team!

Maize, Haunted Island, 99Vidas

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#DiscoverIndies

December 29, 2018 by 12 Comments

On Friday, January 4th, a new concept for trying to help spread awareness of under-the-radar indie games will get its first run, and it has the full backing of IndieCade.

I call it #DiscoverIndies
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#DiscoverIndies

The idea is simple: on first Friday of every month in 2019, gamers of all stripes will be encouraged to purchase a single indie game that they’ve never heard of before. It can be on any platform, any genre, or any price (including free-to-play), as long as they’ve never previously heard of it.

You then play that game and report back on how much (or how little) you enjoyed it on social media using the hashtag #DiscoverIndies, including screenshots and clips if possible. You can also stream the game, blog on it, do video essays on it, or review it. As long as you give the game a moment that it might otherwise have never gotten.

The hope is that people will see the activity from the event, see games that are enticing to them that they’ve also never heard of, and maybe inspire them to also purchase that game. While you are discovering games through the campaign, others will also get to share in your discovery, ultimately giving these games a chance to find their elusive audience.

I’ve been a member of the indie game community for seven years, and trust me when I say that most developers never find their audiences. Lack of fanbase should not be mistaken for lack of talent. I’ve played outstanding games from nameless, faceless developers who will never see their characters become Funko figures. If we, as a community, can make #DiscoverIndies a cool, trendy activity to participate in once a month, this could give them a shot at success on the level they’ve only dreamed of.

How do I participate?

On the first Friday of every month, go to the marketplace of your favorite gaming platform and just browse. You can use whatever filters you feel necessary to narrow your options. Just keep browsing until a game stands out to you that you’ve never heard of before that you would want to play. Buy it, play it, report back on it on social media using the hashtag #DiscoverIndies. It’s that simple.

A good idea is to start with the game’s title screen, include the platform you bought it on and the price you paid for it. If you have the time, check to see if you can find the developer’s handle and include it.

And then just play the game. Put a quality amount of time into it. When moments pop-out to you, take a screenshot or clip (these functions are built into all current game consoles and Steam) and then upload them to your social media (preferably Twitter). Make sure to include the #DiscoverIndies hashtag, so that others can see the game you played while browsing the tag.

Can I choose a game I already know about?

Then you’re not really discovering a game, are you? The discovery process is what makes this work and assures that the initiative doesn’t devolve into gamers promoting the same small handful of games. And so we ask participants to choose games they’ve never played so that they are the ones making the discovery, and let others share in your sense of discovery. While many of you feel that Undertale, Hollow Knight, Dead Cells, or Celeste deserve bigger audiences, the truth is they do have followings already. The goal of #DiscoverIndies is to help those games and developers that have little-to-no following.

But what if the game I already know about is under-the-radar?

We’re going to assume you’ve already been singing the praises of it and those who follow you should already have heard about the game from you, hence the need to pick a game you’ve never heard of before. If that’s not the case, why have you been keeping this hidden gem you’ve previously discovered to yourself? 99.99% of all indie games are fully dependent on word-of-mouth to find their audiences, so if you’ve already found a game and haven’t done your part to spread the word of the game, you can’t really call yourself a fan of it, can you?

How do I find the game?

You browse the marketplace pages of your favorite platforms and keep looking until a game catches your attention that you think you’ll have a good time on Friday with. Check to make sure it’s not published by a AAA studio, and if it’s not, grab it.

Use whatever criteria you need. To really make it fun, wait until the day of the event to shop for the game, and go off your first, visceral instinct.

What if I can’t afford to buy a game?

Steam has a WONDERFUL collection of free-to-play indie games by hungry developers looking to find their audiences. Check them out! There’s a very wide variety, including games that should be compatible with even low-end computers.

I’m gaming media. Can I do the #DiscoverIndies work before each Friday and then post the work on the day of the event?

Absolutely. If you’re going to go more in-depth with the game you select and need time to produce the content so that it’ll be ready for each #DiscoverIndies Friday, by all means do what you need to do to participate to the best of your ability.

Can the game be older or does it have to be a recent release?

You can choose any indie game released at any time. Every game deserves a chance to find its audience. As long as it’s under the radar and you’ve never heard of it, by all means choose it.

#DiscoverIndies Dates

January 4, 2019
February 1, 2019
March 1, 2019
April 5, 2019
May 3, 2019
June 7, 2019
July 5, 2019
August 2, 2019
September 6, 2019
October 4, 2019
November 1, 2019
December 6, 2019

Logo by Gordon Little

Filed under Editorials Tagged with , ,

Fly O’Clock

November 4, 2018 by 1 Comment

Fly O’Clock is like a Mario Party minigame that got released on its own. It costs double the Steam version, a whopping $2. Now mind you, during my first 2 1/2 years as IGC, 85% of all the games I reviewed cost $1 (or 80 Microsoft Points), so this is like a throwback review for me. And, like many XBLIGs I covered, there’s really not a whole lot of meat on these bones to review. Fly O’Clock is like mechanically-separated meat. It’s kind of delicious, but made from the spare parts nobody wants.

If only killing flies was as easy as letting a watch hand glide across them. Little bastards have been buzz-bombing my face all week. Then again, I haven’t showered in like a month now, but I can’t imagine the two things are related.

You’re a fly (or some other animal) on a wristwatch. You jump over the minute and hour hands on it. That’s it. That’s the entirety of the game. Jumping is limited to the corners only. You have no control over which direction you jump or how high or how fast. This is single-button gameplay. You always jump counter-clockwise while the hands move clockwise. It’s sort of like the sweeper obstacle from the TV series Wipeout, only instead of being a person getting knocked into the water, you’re a tiny animal being splattered by a personal time-telling apparatus. There’s not a lot to discuss with Fly O’Clock. The idea is fun in a time-sinky sort of way and feels cathartic in the same way competitive bubble-wrap popping would be. It’s so limited that it almost defies criticism, but I’ll give it shot.

Sometimes it’s hard to know where the hit-boxes are. There were instances where it seemed like I should have died and didn’t, and others where it seemed like I had enough clearance to land a jump and got flattened. The time between dying and starting another round is lightning quick, which is nice. I hate it when fast-paced games make you spend more time between menus than actually playing the game, so they did that right. There’s a handful of multiplayer options. One of them is based on survival, while the other is a race. In the race mode, the first player to do X amount of jumps wins, and the hands only stun you. You absolutely need to play it on a TV because the Switch screen is too compressed for four-player split-screen. But the multiplayer is fine otherwise. Like the main game, it’s fun for a couple of rounds. Fly O’Clock is mostly driven by high scores, so I’m not sure why they didn’t include online leaderboards, and it sucks that they didn’t because I have no way of knowing exactly how good I’ve done. And.. uh.. that’s about it.

Don’t even attempt multiplayer mode on the Switch screen. It’s more squished than the bugs in the game are.

Fly O’Clock is fun in short-bursts. It’s got no depth or complexity to it, but give me five solid minutes of arcadey fun over hours of boring but “deep, meaningful” storytelling any day. And cheap little games like this are awesome for one other reason: people focus on titles that are “pick-up-and-play” and Fly O’Clock is certainly that. But they overlook something: when you get bored and put it down, are you missing out on anything? When Fly O’Clock starts to get old (and hell, I put over an hour over the course of a day into it before that happened), when you put it down, likely to never be picked up again, were you ripped-off by it? Nope. When people roll their eyes at games like this, I ask if you’ve ever put $1 into an arcade machine and expected that experience to net you hours of gameplay? Sit down Twin Galaxies types, I didn’t mean you. Something like this is like putting a quarter into an arcade game, only you get to own the game. You get the full experience from your first couple play-throughs and whatever enjoyment you get out of it is the maximum enjoyment in its entirety. For Fly O’Clock, it was enough for me to nod my head in approval. Keep it simple, stupid.

Fly O’Clock was developed by Digital Melody
Point of Sale: Nintendo Switch, Steam

$1.99 got swatted in the making of this review.

Really, this should only cost $1, even on Switch.

Fly O’Clock is Chick-Approved and ranked on the Indie Gamer Chick Leaderboard

Filed under Nintendo Switch Reviews, PC Reviews Tagged with , , , , , , , , , , , , , ,

Cuphead (Second Chance with the Chick)

October 30, 2018 by 14 Comments

UPDATE: Since posting this review, I’ve beaten Cuphead and written a third and final review of it. Click here for my final thoughts on the game. But keep reading this because beating the game didn’t change my opinion all that much.

UPDATE #2: AND THEN I played it a fourth time and realized I was wrong all along. You know what? Enjoy the full Indie Gamer Chick v Cuphead journey. I sure did. Click HERE for the absolute final review.. until the DLC.

Nobody wants to be that one person who isn’t having fun at the party. It’s awkward. People stare. They wonder what the fuck is wrong with you? Can’t you see how much fun everyone is having? But that’s me with Cuphead. I think it’s boring. Sure looks pretty though. I reviewed it a year ago and you would swear I’d gone door-to-door and sodomized every Xbox fan’s dog while making their grandmothers watch by the way people reacted to my opinion of it. The cries of “how dare you review it when you didn’t even really finish it” rang through the land. Which I think is bullshit. Hey, *I* paid for my copy, fellow critics. Did you? If you buy a gallon of dish soap from Costco, are you not allowed to complain about the shoddy quality of it until you’ve emptied the entire container in a futile attempt to get that last bit of crusty shit off every plate in your sink? Of course not. And besides, as I took delight in pointing out, I made it further than 95% of Cuphead owners did at the time I threw in the towel. That number has since climbed to a whopping 88% of people who didn’t make it as far as I did. Apparently the 12% of those who outlasted me were all game critics. I’m sure.

It still boggles my mind that, in a game that so closely resembles vintage 40s cartoons, the story is laid out in static screenshots. How come nobody else finds that weird? It’d be like doing a tribute to Mr. Rodgers Neighborhood on the back of packs of cigarettes.

Anyway, as a responsible game critic, I do have to take into consideration things like if patches have fixed titles I previously disliked. And Cuphead has been patched a few times to clean up stuff like timing or glitches. Though fans of the game who understood why people like me wouldn’t like it did point out to me that the patchwork was so minuscule and insignificant that it couldn’t possibly change my opinion. And they were right, but I wasn’t happy with the original review, because it left some stuff out that I feel I probably should have talked about. So, let’s get this over with, shall we?

Gun to head, I’d probably name Cuphead as the best looking game ever. Any game, indie or otherwise. And I don’t take that lightly, even if I think it’s 2018 and we probably should be over graphics by this point. I’m not going to claim that I grew up some kind of vintage animation superfan or anything like that. I didn’t. I was a huge Superman fan growing up and loved the 1940s Fleischer Studios Superman shorts (there’s an awesome YouTube video on their significance to film history here, you actually owe lightsaber battles to them), and they’re one of the major studios that Cuphead drew inspiration from. Normally, I find referential nostalgia to be obnoxious (unless I’m doing it, YEA FOR HYPOCRISY!) but in the case of Cuphead, where so much effort was put into it, you can’t help but admire it. This wasn’t just assembling voxels in a way that looks vaguely like KITT from Knight Rider. This is authenticity in a way that nobody would reasonably expect from any game, except maybe South Park where the style isn’t hard to replicate.

This is a direct-tribute to “The Mechanical Monsters“, the second Superman short. Probably the best thing I can say about Cuphead is if I saw this screenshot ten years ago, I would never have guessed it was from a video game. Well, assuming the game stuff in the bottom corner wasn’t there.

That’s why I don’t understand why the decision was made to make Cuphead so prohibitively difficult. Some of the best character designs are gated-off unless you can beat all the bosses on “normal” difficulty. Here “normal” is in the sense of “I would normally expect it to be hard to swim across the Pacific Ocean.” I struggled enough trying to beat some of the bosses on the easy difficulty and they expect me to beat the same boss with extra phases added to it just to be able to see all the content in a game I already fucking paid for? After all the work I put into getting as far as I did (and I did beat all the bosses in worlds 1 – 3), having the game tell me I didn’t do it good enough was frankly a slap in the face. Like the break-dancing maneuver where you spin on your erect penis, it’s a dick move.

Weirdly enough, my favorite parts of Cuphead, the Contra-esq “run and gun” stages, don’t have optional difficulties. They start off fine, but they become maddening too. As in they make you angry. They don’t turn you into a perpetually sweaty ex-Raiders coach. Well, actually some of them might. But here’s what I don’t understand: they do have optional challenges. You can get an achievement by not killing anything in them, for example. So why didn’t they just apply that kind of design logic to the larger game and let people make their own challenges? This is an Xbox exclusive. USE THE ACHIEVEMENTS! Give someone who beat all the levels on one difficulty an achievement and let people who didn’t go that far enter the last level of the game. We’re not talking ONE boss people who could only beat the game on easy miss-out on battling. They miss eleven boss fights. ELEVEN! That’s one more than the first two (out of three total) worlds have combined! Having an extra final boss fight for a hard mode is acceptable and commonplace in gaming. Cuphead locks players out of nearly 40% of the content if they don’t have the ability to beat the game on the developer’s terms. So why even offer easy modes if you’re going to be that big a prick about it? That sort of makes me think the Moldenhauer brothers are pretentious fucking assholes.

Gamers are really cool about doing hard stuff if that’s what they’re into. Speed-running has become its own thing that people take notice of. We have an odd admiration for people who can beat games with their feet or holding the controller upside-down. Developers, you can cater to the insane-hardcore crowd and the people who just want a solid ten hours for their $20 investment. You shouldn’t want to lock anyone out. Especially a game like Cuphead, that put so much effort into the audio-visual presentation. Why divide people into two different groups and say “this is for THIS group, and not that group”? There’s something kind of heartbreaking about Cuphead. That it’s something that should be admired by everyone, but actually only a small niche of gamers will ever truly enjoy it to its fullest potential. That’s actually tragic. I don’t have a joke to go with that. It makes me legitimately sad.

While the side-scrolling stuff were my favorite parts of Cuphead, they were also far too difficult for me in most cases. And again, I just don’t get why this was a shooter at all. It’s based around the Golden Age of animation, where slapstick was king. There’s NO slapstick in the gameplay of Cuphead. Just shoot, then shoot some more, and then shoot even more. It’d be like doing a tribute to Prince without having any of his music. It seems like nobody would think to do that, and yet, here we are.

I played Cuphead again this week, hoping to figure out why everyone at the party was having such a good time. And I did like it slightly more. This was mostly because my long-time friend Brad Gallaway suggested I take one of my hair ties and use it to hold the right trigger down, thus keeping the game perpetually firing without having to use my finger. It works, and it removes the physical pain I felt last year when I played through it. I put a few hours into my replay of Cuphead and was actually able to type this without pausing every few minutes to ice my hands. It’s the first time since the Atari 5200 where a rubber band is the best accessory in gaming (there’s like ten people in the world who will laugh at that joke, but trust me, they’re howling right now). But it begs the question: why didn’t Cuphead just include that in the first place? Hell, firing isn’t even mapped to the most obvious button. You have to do it yourself. It’s one of those things that made me once again step back and ask “who exactly was Cuphead made for?”

The answer was apparently “for the guys who made it.” And that’s fine, by the way. Chad and Jared Moldenhauer got to do what very few people get to do: they made their dream game. If anyone else happened to like that game, hey, awesome. If not? Meh, they still got to live their dream and nobody can ever take that away from them. Cuphead is one of those rare games that I really kind of hate, but at the same time, I admire the shit out of it. When I play it, I can almost picture how it came about in my head. “Nobody remembers the levels in Gradius or Life Force or R-Type. They only remember the bosses. Well fuck it, we’ll have side-scrolling shmup stuff in here but ONLY the bosses. I mean, why not?” And, yea, actually that isn’t the worst idea when I think about it. If people will only remember certain aspects about a game as the years pass and the game fades into memory, why not just build a game around those things? Cuphead is memorable. I’ll give it that. Nobody who plays it will ever forget it. Its characters are like a 1940s cartoon, grainy filter and everything, as animated by someone sleepwalking through a fever-dream. There’s not a single boss that feels like they phoned it in. A lot of games that are prohibitively difficult feel lazy or under-developed. Not Cuphead. You really walk away from it feeling like the game turned out exactly as it was intended.

And that’s why I hate it. I was bored so much by the endless replaying of boss fights without checkpoints that gets tedious. The controls are mostly tight and responsive (assuming you remap most of the buttons) but I could never get the timing for the parry down. And the item you can buy that automates the parry takes the spot that could be used for the invisibility-dash, which you absolutely DO need (all the pros use it from what I can tell), which is a shit move by the developers. Why not just let people equip all the items available? Why have to choose? Why are so many enemies in the run & gun stages bullet sponges? Ones that don’t have to be, either. Those tree stumps that are stacked like totem poles aren’t exactly a challenge, but the amount of bullets they soak up just kills the pace of the stage dead. That happens a lot in what limited amount of levels there are. Why bother when those stages are treated like an afterthought anyway? Eh, you know what? Fuck Cuphead. I just didn’t have fun playing it. It’s not really meant to be fun, apparently.

Every single boss is unique and memorable in their design. The sheer creativity on display, even when a character is based partially on something, is astonishing. Beppi The Clown is based on Koko the Clown from old Betty Boop cartoons. Only if Koko had taken lysergic acid first.

Honestly, I think a lot of people who say they like it really didn’t either. I think people claim to like it so they don’t become that person that isn’t having fun at the party. The achievement percentages for the game back me up that. As of this writing, only 12.36% of all Cuphead owners on Xbox One have beaten every boss on Inkwell III on any difficulty. That’s as far as I made it, by the way. That’s not even the final level of the game. That’s as far as you can go without beating all the bosses on the “normal” (IE quite hard) difficulty. Compare that to Dead Cells, another game noted for high difficulty that came out nearly a year after Cuphead, where just over 14% of all people have beaten the final boss on any difficulty. So, more people have beaten all of Dead Cells in a lot less time than Cuphead has had people beat two-thirds of it over the course of its first year of release. 56% of Dead Cells players have beaten the 2nd boss, about two-thirds through a run of it. For Cuphead, only 21.56% of players have beat all the bosses in the game’s second world on any difficulty. So again, I question whether everyone who claims to love the game really does love it as much as they say they do. When almost 80% of all players aren’t even making it half-way through the game, really, how much fun can they be having?

Dead Cells became my choice for the best indie game I’ve ever played, and that’s despite the fact that I hate roguelikes and I don’t understand why some games don’t have adjustable difficulty just for the sake of making sure EVERYONE can admire your work. So actually, it’s kind of lazy on my part to say Cuphead “isn’t for me.” I actually don’t think it’s a well designed game. For Cuphead, the entertainment value is based entirely on the sense of relief felt when you finally clear a boss after your fiftieth-bleeping-attempt. And yea, those feelings are legitimate. When you spend an hour memorizing the attack patterns of a boss, come so close to beating it only to come up short and see that you were a fraction of a second away from victory, then FINALLY hit your stride, it’s going to feel good when you beat it. Well, no shit. For those who say “DON’T YOU FUCKING GET IT? THAT’S THE POINT!”, my question is “why can’t everything that leads up to that moment be fun too?” Because it is for games like Super Meat Boy, Spelunky, or Dead Cells. Yea they’re frustrating as all fuck, but the difficulty never supersedes the fun to the point of becoming demoralizing. Hell, dying can be entertaining in some games. There’s nothing fun about dying in Cuphead. It just means you have to start all the way over again, doing that thing that wasn’t fun to begin with. Besides the side-scrolling levels, I didn’t have fun with Cuphead at all. It’s all pain and no pleasure besides “well, finally beat that one. Yea?” And that makes me question whether Cuphead is a work of art or not. I somehow doubt da Vinci only showed off his paintings to those who allowed him to beat the shit out of them first.

Cuphead was developed by StudioMDHR Entertainment
Point of Sale: Xbox One, Steam

$19.99 noted IGC won’t be buying the DLC unless MDHR opens up the final bosses to those who only beat the world 1 – 3 bosses on easy so they can play all the content they already fucking paid for in the making of this review. Oh and making a boss named “Chef Saltshaker” to mock those who had the gall to say this $20 game they paid for is too hard? Yea, not giving people the stuff they paid for is hilarious guys. Keep it up.

Filed under PC Reviews, Xbox One Reviews, Xbox Reviews Tagged with , , , , , , , , , , , , , ,

The VideoKid

October 15, 2018 by 4 Comments

Paperboy isn’t exactly a game I hold up as one of the all-timers. My first experience with it was actually the worst you can possibly imagine: the Nintendo 64 follow-up. That version is so obscure and forgotten most people I’ve met aren’t even aware that a 3D Paperboy exists. It does, and it’s awful. So honestly, The VideoKid had nowhere to go but up. As bad as The VideoKid is.. and it’s horrible.. it’s genuinely better and less broken than an actual, official Paperboy release. So it has that going for it. Which is like telling a diabetic “we have to amputate your left leg, but hey, this will bring you under 300lbs, so there’s that!”

Later, I got to play both a port of the arcade game via Midway Arcade Treasures on the GameCube, and the real McCoy arcade version, complete with handlebars. I thought both were shit. The isometric view. The unfair enemies. The fact that aiming and timing is so unforgiving. It’s one of those games that I think people like the gimmick more than the gameplay. I’ve also noticed that most people who file away fond memories of it primarily played the arcade version, which at least had a unique control method (because what child of the 80s ever had the rare opportunity to wrap their hands around bicycle handlebars? Only at arcades could they experience such a far-fetched fantasy), whereas people whose experience is limited to the NES or PC ports of it tend to agree with me that it was always kind of shit. Still, it’s a franchise that IS remembered, and that’s the key to stoking that sweet, sweet nostalgia fire. Eventually, someone will make the definitive Paperboy indie tribute.

This isn’t that game.

I won’t lie: The VideoKid started behind the eight ball with me. I’m not nostalgic for Paperboy, or anything really. The “anything really” especially hurts VideoKid, which relies fully on the player being one of those people who find references to things you’ve heard of to be comedy gold all by itself. And I can honestly say that I’ve never seen a game take that to such an absurd degree. Even though there’s only one randomly-generated level in VideoKid, there has to be over a hundred mostly 80s pop-culture references that hit one after another. This is the shotgun blast to the face method of reference-based humor.

Kirk & Spock examining a red-shirt before being beamed away. I too remember Star Trek. Ecto-1. I too remember Ghostbusters. Michael Jackson dressed all in white, spinning around. I too remember Smooth Criminal. Tony Montana pulling out a tommy gun and saying “say hello to my little friend!” I too remember Scarface. “He’s Heating UP and “He’s on Fire!” I too remember NBA Jam (which is from the 90s and makes no sense in a game that is a tribute to the 80s). The Mystery Machine being chased by a ghost. I too remember Scooby-Doo. Rambo. I too remember Rambo. Johnny-5 being chased by an Indian scientist. I too remember Short Circuit. The time-traveling DeLorean. I too remember Back to the Future.

Everything I said above? That all happened in a span of less than 30 seconds. Here’s the clip.

Big Bird. Fraggle Rock (or they might be Gummy Bears). Thundercats. He-Man riding Battle Cat. Clark Griswold’s Family Truckster complete with dog tied to bumper running behind. Reference, reference, reference. A conveyor belt of references. No context. No effort made past the character models. Just “hey, you know that thing you know about? I too know about that thing you know about, and I put it in my game so that you know that I know about that thing you know about.”

And for a lot of people, that’s all you need to make them happy. I don’t get it myself. The “pop” part of “pop-culture” stands for “popular.” For a thing to be part of pop-culture, it has to be seen by a lot of people and make enough of an impact that it becomes part of the public consciousness and thus will be remembered by the collective masses and cement its place in culture for generations yet to come. Pop(ular)-Culture. Get it?

So, when you see Optimus Prime show up in a random video game, it shouldn’t really mean anything to me or you, or anyone. Transformers is very well-known and has been a major part of pop-culture for three decades now. That’s why it had multiple cartoons, a line of toys, and then long after the height of its original popularity had passed, was able to be adapted into a multi-billion dollar movie franchise. Of course people have heard of Optimus Prime. If VideoKid wanted to impress me, it should have had cameos by Armed Force fighting Saw Boss or a sign welcoming you to Eerie, Indiana (pop: 16661). Something obscure, you know.

Maybe if The VideoKid had done something clever with these references, it’d mean something. Michael Jackson throws a golden coin to you, which lights you up. Or you ride next to the bike that’s transporting ET and suddenly you start to fly. Something more interactive that actually utilizes the references. But other than being able to do things like knock Care Bears/Fraggles/California Raisins/Alvin & the Chipmunks off a park bench or make a car fall on Homer Simpson (complete with D’OH sound that actually sounds nothing like Homer), the references really just sort of pass by and serve as distractions. Things to avoid running into. You don’t get to collect them as trophies or stickers or anything noteworthy. You just see them. Well, I’ve seen all these things before. Lots of times. So I don’t get the appeal in having them here. They don’t do anything.

I don’t know what it says about me, that a dog being dragged to its death is the one pop-culture reference that made me crack a smile, but this really is the only one that came close to making me laugh. What can I say? The song “Holiday Road” immediately popped into my head and I started to mentally ask myself whether Clark Griswold left the dog tied to the bumper intentionally or not. To this day, I think he did. He later took a theme park hostage at gunpoint and then had a nervous breakdown on Christmas Eve, which inspired his mentally ill cousin-in-law to kidnap his boss and hold him to ransom for a bonus. He’s a psychopath. I half expected him to be in prison for a killing spree as a throwaway joke in the Vacation remake, but that would have been too clever.

So, for me at least, VideoKid had to stand on its own gameplay merits. And honestly, I don’t think the foundation is inherently flawed. VideoKid takes place entirely within three lanes of action, with left and right moving you instantly from one to the other. I think this is a solid idea that could, presumably, fix a lot of the issues I had with Paperboy. In the original, it’s never entirely clear which trajectory to take to avoid enemies. By limiting the action to three channels, a player should be able to instinctively learn patterns and have strategies for avoiding obstacles be self-evident. It’s a more streamlined gameplay mechanic that should make VideoKid less frustrating.

But sadly, the lack of polish takes things a few steps backwards, then cuts off those feet to assure no more forward momentum will be had. Collision detection is spotty and inconsistent. Sometimes I’d hop on a car and score points. Other times it would seem like I had timed it right but still die anyway. Sometimes I’d get the power lace shoes from Back to the Future II, which lets you jump high in the air, but those seemed to turn the collision detection into random chance, where I’d die if I landed on a car or a bench (and other times I’d score points like normal). And the horrible play control just compounds the issues. Sometimes, after landing a large trick (which is done by hoping from obstacle to obstacle) the player would land and then be unable to move at all, no matter how much I pushed left or right. Other times I’d be going along not pushing any buttons when my character would veer left or right into a car without me pressing anything. Maybe it was a really delayed response to a button press. I don’t know, but in this clip, I didn’t press left at all and I still moved left into a car and died. And yes, I was using the D-Pad, not the analog stick.

This is developer Pixel Trip Studio’s first game, and it shows. Often, first time developers are so anxious to get their game published that they under-test it. I think that’s the case here. The VideoKid is clearly not finished. I bought the Xbox One version, which doesn’t have menus, doesn’t have options, and doesn’t even have a way to quit the game without using the guide button and going through the Xbox dashboard to close it. Perhaps because of that, it doesn’t properly keep track of your stats. Sometimes it would say I had delivered six tapes (after hours of gameplay), game-overed once, and only earned $0.02. Other times it would go up, but never in a way that was accurate to my actual playing. And while the game has tons of unlockables, if I quit out of VideoKid and then went back to it, sometimes (but not all the time) all the stuff I had just unlocked (or some of the stuff) would become locked again. That is not what you call buggy, people. That is broken.

I’ve played way worse first-efforts by developers. I don’t even think The VideoKid would rank in the bottom five of those. But it’s certainly one of the most unfinished games to find its way to the marketplace in 2018. And it just does lots of other bad stuff. It eliminates the challenge of Paperboy by giving you an unlimited amount of video tapes to throw at mailboxes and does not penalize you for missing or causing property damage, thus eliminating all semblance of finesse or strategy. And when you make more than two deliveries in a row (which is, you know, the main object of the fucking game), it spams the (already cluttered) screen with a giant notification. When you’re dealing with a glitchy, overly-sensitive-controlling game that takes place from an isometric point of view, the last thing on your mind should be making it even harder for the player to see what they’re doing.

Down in front!

So yea, The VideoKid is really horrible. No, I didn’t beat it. I got 90% finished a few times but was killed by Biff Tannen throwing something at me. If you’re one of those types that thinks people shouldn’t share their opinions on a game they bought unless they finished it, I’d like to point out that the developer is on the record saying HE only beat it once himself.

So really, I only beat it one less time than the game’s own developer did. I don’t know if he meant once on Xbox One or once ever. Because The VideoKid is on multiple different platforms, and considering all the really damning bugs and glitches, it seems like he probably should have played it a lot more than he apparently did before releasing it. I try not to review the developer, but I’m frustrated because there’s potential here for something satisfying. And not satisfying because I too have watched cartoons and movies and remember popular characters from them. The VideoKid didn’t need to be this bad. And it looks a small cut above your typical voxel game and effort was put into it. I’m guessing Pixel Trip Studios has talent. But the indie game market really shouldn’t become Mario Maker, where all that’s required to upload a game is to beat it yourself one time. The VideoKid costs $4.99. That buys you a LOT of really good indie games these days. Maybe even more than one for that price. Fans of the game think I’m being too hard on it. So what if it’s a little buggy? Look, there’s Lion-O! I too remember Thundercats!

Hey, there he is. Oh thank God, he didn’t get Mandela Effected out of existence.

Well so do I, and I wasn’t even born until the original series had been off the air for a year. But a game reminding you that Thundercats is a thing and they too have heard of it shouldn’t be a proper substitute for polish or refinement. If someone buys something expecting it to work and it doesn’t, they’re not assholes just because the broken product has Inspector Gadget in it. We’ve had video games for over fifty years now. If we’ve reached the point where people’s standards are too high for expecting a game to properly keep track of your score or progress without shitting the bed, what incentive do developers have to get better? Why should the next generation of indies put in effort at all? Just blast players with context-free pop-culture references and phone it in, and nostalgia-drunk fanboys will defend you to their dying breath. The VideoKid is critically acclaimed and very popular on social media and it shouldn’t be, because it’s unfinished and genuinely terrible.

And I’m not pissed that it’s bad. I’m an indie game critic. If I can’t handle bad games I should just quit now. I’m pissed because people have decided that being broken doesn’t matter as long as the game speaks in 80s memes to you, and anyone who feels otherwise has a stick up their ass. This is not a path we want to go down as a community. Do we really want a future where most games, indie or otherwise, habitually release too early, full bugs, in dire need of play-testing that they never received, and.. uh.. shit. Hold on, I really need to think this argument through more.

The VideoKid was developed by Pixel Trip Studios
Point of Sale: Xbox One, Nintendo Switch, Steam

$4.99 are ♪ driving down on a highway, and my wheels are spinning fast. I’ve been driving now for a long long time, and soon I will be there. KEEP ON ROLLING! KEEP ON ROLLING! There’s no turning back I’m going all the wayyyyyyyy aay aay aay! ♪ in the making of this review.

Now THAT’S how you use a reference.

Filed under Nintendo Switch Reviews, PC Reviews, Xbox One Reviews, Xbox Reviews Tagged with , , , , , , , , , , , , , , , ,

Dead Cells

October 13, 2018 by 13 Comments

Before I get to the review, I want to take Dead Cells to task on how it promotes itself. Dead Cells calls itself a hybrid of a roguelike and a Metroidvania, or a “RogueVania” to be specific. Apologists for it will say that it’s NOT trying to invoke a Metroidvania, despite that term being thrown around everywhere. And I take it issue with that, because it’s just not true. Oh, the roguelike part is. The difficulty is high, the randomness is, well, random. Especially the level design, which can be so nonsensically assembled that you’d swear the game is set in the Winchester Mystery House. Doors open into empty rooms. Hallways can wind around only to lead to a dead-end. Chains and vines lead to nowhere. It never really gets as absurd as Spelunky’s “damsel behind ten feet of rock when you can’t possibly have enough bombs by this point to get to her” stupidity, but the algorithm leaves a lot to be desired. Still, Dead Cells is quintessentially roguelike. Nobody would deny that.

But saying or suggesting this marries that genre to Metroidvanias is utter hogwash. All runs in Dead Cells are fully linear, with no back-tracking. You can unlock runes that permanently upgrade your character, but once you have them you can’t go back to the stuff you missed in previous levels unless you die or finish the game. Dead Cells has levels, not one big, sprawling map. Some stages have more than one exit, but once you’ve used that exit, you continue on a linear path and can’t take a mulligan if you don’t want to play the stage you exited to. Calling the levels “interconnected” seems intellectually dishonest. It’s factually true, in the sense that if you beat level one, you play level 2 next. But going by that logic, you’re saying Super Mario 1 is a Metroidvania. Its levels are interconnected, after-all. Beat level 1-1, move on to level 1-2. Doesn’t get more connected than that, right?

I can’t possibly imagine where they got the “Vania” part from.

I’m fine if they want the “Vania” part to mean “in the NES sense of things”, because Dead Cells feels an awful lot like the Castlevania games of yore, where you would play one linear level at a time and there was no gigantic map to explore. The protagonist even looks like a Belmont, sometimes uses a whip as a weapon, and fights the undead. Really, it’s the closest an indie game I’ve played has come to feeling like a modern twist on a 2D Castlevania, especially Castlevania III: Dracula’s Curse on the NES. Replace switching between different characters with switching between different weapons and make the game a roguelike and it would fit right in. But that’s clearly not what the implication is behind the “rogueVANIA” thing, and I find that to be a bit dirty. It’d be like saying the Chicago Cubs are essentially a basketball team. I mean, they wear uniforms and they play a game with a ball and the team with the highest score wins, so it’s pretty much indistinguishable, right? Well, no. Of course not. And it’s shitty of Dead Cells to imply in any form that it’s a Metroidvania.

Got that?

Good. Now onto the review.

Dead Cells is the best indie game ever made.

Yep. As of this writing, I’ve been Indie Gamer Chick seven years, three months, and twelve days. I’ve previously reviewed 568 indie games, and played thousands more that I never transferred my opinions over into review form. And Dead Cells is the one. I have never put more time into a game before I sat down to write the review. I’ve never cussed a game I intended to review more. I’ve never had an indie utterly own my psyche to the degree it has. When I thought I had played enough to write this, I deleted the game from my Xbox One and Switch in a futile attempt to force myself to sit down and start typing. But then I decided I “needed more media”, reinstalled it, and ended up tripling my time-in. I took my Twitter followers on a roller-coaster of eutrophic glee and bitter contempt, wondering out-loud if Dead Cells was the best indie I’d ever played or unworthy of my Seal of Approval at all. I’ll give it this: it was never uninteresting.

Magical Source, Mystic Force!

A big part of the reason I had trouble beginning the actual writing process was because I honestly don’t know where to begin. By this point, I’m sure anyone reading this review has heard of Dead Cells, gets the gist of it, and is here to figure out exactly why I enjoyed it more than any indie game I’ve ever played.

Would you believe I don’t fully understand it myself?

I hate roguelikes. In fact, I generally hate games where the difficulty is the main attraction. I don’t see the fun in it. I’m sure I could tunnel through my bedroom door with a spoon if I wanted a genuine challenge. It’d be dull and tedious and time consuming to do so, but it would be a legitimate challenge. Or, I can just open the door and avoid all that shit, and spend my time doing fun stuff. A lot of developers don’t get that. Many indies look at something like Dark Souls, where the first thing any fan brings up is how damn hard it is, and assume that’s attraction. But it’s not. If Dark Souls wasn’t entertaining, nobody would care about the difficulty. It’d just be another inaccessible game that blowhards use to claim they’re “real gamers” and everyone else is just a “casual”.

Motion Twin got it, and Dead Cells is never boring no matter how far you’re into it. The 2D sword-and-shields combat is exhilarating from the get-go. The initial grind of fighting enemies and collecting enough “cells” to unlock getting a random starting weapon or starting bow could have reduced the opening hours into a hacky slog. Instead, the first three or four hours, where grinding up cells is the focus, might be the most cathartic introduction to a game since Resident Evil 4. Attacking feels like it has an authentic weight behind it, while dodging, blocking, or countering feels like there’s actual urgency behind every move you make. Even low-level zombies can take you out if your mind wanders just a little bit (trust me, I was felled by them more than once, even 100+ hours into the game, just because I got distracted). You feel like there’s stakes behind every encounter. When does that ever happen in gaming anymore?

Combining fire and ice is surprisingly effective. Someone ought to write a song about it or something.

But then, as you unlock more weapons, you start to realize the depth and nuances of Dead Cells. So much time was given to differentiate most of them that utilizing them makes it feel like you’re playing an entirely different game. But, and this is the key, it almost always feels so natural and right and you would swear Dead Cells was meant to specifically be that kind of game all along. If you equip the infantry bow, which scores damage most from point-blank range, Dead Cells feels like it was designed specifically to be a 2D gun combat game where you’re busting a cap in someone’s melon. The heavy bow feels like a shotgun that appropriately scatters baddie-chunks all over the stage. You might pick up weapons like the lightning bolt, frost blast, or fire blast that make Dead Cells feel like it was designed to be a superhero action-platformer that you could believe is a 2D version of Infamous. I’ve never experienced this phenomena in any game I’ve ever played. It’s astonishing how natural it is no matter what you’re wielding. Don’t get me wrong, not all the weapons are satisfying. The broadsword is so slow and impractical that it became the white elephant of the game. I kept succumbing to the temptation of picking it up, especially when super-charged versions of it were dropped by bosses, and always ended up regretting it. I’m not sure why I kept giving it a chance, given how often I died as a direct result of trying to use it. It’s not like I have a penis that necessitates making up for the inadequacy of.

Cloud ought to sue.

The wide variety of unlockable weapons is supposed to help highlight Dead Cells’ “make due with what you’re given” core gameplay. But this can also be problematic. There were a lot of less-than-fun items that I regretted unlocking. Once unlocked, you can’t prevent items from coming up in the randomized rotation. Items are broken up into three different colors: red, purple, and green. Red is brutality (and also grants you arbitrary leadership of the Power Rangers), purple is tactics (and also indicates you stand in support and dignified solitude with the gay Teletubbie), and green is for survival (and prevents you from being pinched on St. Patrick’s Day).

Because the best secondary weapons (IE turrets and traps) are purple, plus the best “mutation” (which shrinks the cooldown time on those traps) gets better the more you boost your purple, I preferred to combine the Ice Bow or Frost Blast (which are purple and freeze enemies) with a colorless melee weapon (colorless/gold weapons have their stats dictated by whatever color you’ve boosted the most), or with the “Frantic Sword” which is the only practical sword-type of weapon that purple boosts. In my early runs on Dead Cells, putting together a reasonable four-weapon combo based around these was relatively easy. But, as the game went on I started to acquire blueprints for more items that I could then unlock. And being the curious type of chick I am, I succumbed to that curiosity and wanted to take the new items out for a spin. Well, my friends call me Cat, so I guess it’s fitting what curiosity did to me.

One thing I realized when trying to get screenshots of Dead Cells for this review: action-screens are incomprehensible. This COULD be a screenshot of Dead Cells, or perhaps I just dumped paint onto a canvas and then blasted it with a highly-pressurized air-cannon. YOU CAN’T KNOW FOR SURE!

So basically, Dead Cells punishes you for unlocking stuff. The fact that you fuck yourself over for having the unmitigated gall to want to gain new abilities and items is just one of many insanely frustrating aspects, but it’s easily the one that stings the most. I’m to a point now in Dead Cells where I have so much shit unlocked that coming into possession of a truly exhilarating, fun-to-use loadout is rare. Too rare. And this is not helped by the algorithm for weapons apparently having no intelligence at all. During one of my last runs, the random starting bow I was given was the Duplex Bow, which is my choice for the most boring weapon in the game. But that’s okay, because I would certainly be able to change that as I went along, right? Well, I did.. with four other Duplex Bows. I’m not even kidding. The chest I opened in the first level had one, then I got one from a hidden pit in the second stage, one from a cursed chest in Stilt Village, and finally the second boss dropped a hyper-charged one. Each weapon has sub-abilities as well, but those are also based on random chance. Between stages, you can pay gold to randomly switch the sub-abilities, but the cost increases each time you do it and can drain your account fast. At no point during this entire run did I get the desirable “arrows pierce all enemies” ability, or even the “arrows leave a trail of fire” one. It kept assigning me the least useful traits for the most boring weapon, again and again. It was like Dead Cells was trolling me.

“What are you going to do, bitch? Stop playing?”

“Sigh…….. no. You fuck.”

And I didn’t. Nor did I when any of dozens of other issues crept up. Lots of technical ones, especially. Some of them have been corrected, but there’s an annoying one on Xbox One centered around the Daily Challenge. Every day a new pre-set challenge is presented, always a timed-race through a maze where you are given one starting weapon. Beating X amount of these challenges is supposed to unlock new items and abilities. I got one for beating my first daily challenge. But then the game lost the ability to count how many I’d finished. It keeps telling me I need to finish four more to unlock another reward, despite the fact that I’ve beaten the challenge every day for weeks now. Dead Cells released over two months ago, and the fact that this relatively simple glitch hasn’t been fixed yet is beyond shameful.

If you can get the machine-gun crossbow with piercing arrows, man are you in for a treat.

So are the hiccups with movement, where sometimes you’ll seemingly skip ahead several frames from where you should be. The overwhelming majority of the time, this was of no consequence, but I did die more than once as a direct result of this. Finally, sometimes the game would just shit the bed and dumped me back to the Xbox main menu. This screwed over a couple good runs I was having, as I had to start over from whatever stage I was on, but it also gave me a chance to correct a few bad runs, so we’ll call it a wash.

Besides the random weapon fiasco, the biggest issue is by far the cheapness. I’ve had decent runs ended instantly by having enemies juggle me from full health to no health in a matter of seconds. Sometimes its on me, like when I went so heavy on the purple boosts that the last boss was able to take me from full health to dead in under 10 seconds. But sometimes the RNG would spawn enemies who attacked in sync enough to unfairly end my run in a way I couldn’t possibly hope to defend. I’m sure I’d been laughing my ass off if it wasn’t me it was happening too. Hell, one time I opened a cursed chest (which always give you a booster, a colorless weapon, and money in exchange being “cursed” by having to kill 10 enemies in a row without taking any damage, or else you die instantly), certain that I’d have clean, easily sailing to lift the curse. Then I ran smack-dab into shielded enemies who can teleport around. My primary weapons were slow on the draw, so my only option was to leg it.

Now mind you, Dead Cells unlocks even harder modes when you beat it the first time around. I question whether it really needed to be this unforgiving at all. For anyone that says I suck at games and am a pussy or whatever, hey, guilty as charged. But I was able to beat Dead Cells and even score a few rare achievements along the way. The first time I beat the 1st boss, I took no damage doing it. And when I finished the game for the first time, I still held a “mutation” that brings you back to life if you lose all your health, something 95% of all people never did. Considering that I just named Dead Cells the best indie I’ve ever played, maybe I’m onto something when I say there should be two difficulty options from the start: the one I beat, and an easier version, and let people progress beyond that. I finished the normal difficulty of Dead Cells twice but could make almost no progress on the next difficulty. But hey, I’m satisfied. I just feel bad for those who will pass on the game because of the prohibitive difficulty. They’re missing out, but at the same time, I can’t blame them at all. When I got to the point that I wanted to make progress, the cheap deaths and the outright unfairness that sometimes rears its ugly head made me angry to the point that I questioned whether everything that led to that moment was worth it.

For me at least, answer was “yes”, of course. That’s what separates Dead Cells from something like, say, Cuphead. For all the effort that was put into Cuphead by StudioMDHR, and for all the effort I made to be good at it, I didn’t enjoy my time with it at all. Even as I was being gobsmacked by the presentation, the actual gameplay of Cuphead bored me to death. I was never bored with Dead Cells. Even when I had the most uninteresting items. Even when I couldn’t get into a good rhythm during a run. It was always entertaining. I think that’s because Dead Cells is whatever you want it to be. If you’re craving a fast-paced sword-and-platforming whack-em-up, Dead Cells can be that. If you want a slow, exploration-based adventure, Dead Cells can be that too. Hell, if you’re feeling silly and in the mood to just run around and literally boot enemies in their asses, kicking them off their perch and to their deaths like a Loony Tunes cartoon, Dead Cells still has you covered. It’s a “fill in the blank” game and it adapts to you just as much as you adapt to it. So many games promise to “never be the same game twice” but Dead Cells is one of those rare games that feels like it has the potential to that live up to that promise. If you want it to, that is.

I really should stop posting screens at this point. It looks so much uglier in pictures. Just watch videos. The graphics are more than satisfactory.

I got Dead Cells in August but didn’t truly get into it until September. Or, more accurately, it got into me. I’ve put so much time into it that my friends and family went from joking about me to being addicted to genuine concern that I was. I feel like I’m, at best, a day or two a way from “no, seriously Cathy, put down the controller. This is an intervention.” I’ve already asked myself questions like “if I shoot those who try to take Dead Cells away from me, would the cops let me finish the run I’m on before slapping the cuffs on me? Will they let me take my Switch with me so I can play more Dead Cells?” According to my lawyer, the answer to both questions is no, which is why I have to plan to leave nobody alive and then turn myself in later, after I play more Dead Cells. I’m planning on using the “Your Honor, as you can see, they interrupted me when I had a gold Ice Bow, a gold Balanced Blade, and two gold turrets” defense that’s going to rock the nation.

1,292 days before I published this review, I named Axiom Verge the best indie game I’ve ever played, and its held that title ever since. It’s stood #1 for over 48% of my game critic existence. If you had told me on March 31, 2015 that the game that would finally dethrone it would be a 2D roguelike action-platformer that I only gave a whirl because it erroneously claimed to be Metroidvania-like, I’d thought you were off your rocker. But, here we are. Dead Cells is frustrating, and unfair, and maddening.. And brilliant. And breathtaking. I choked up a bit when I beat the final boss for the first time. I never imagined I’d play games like this when I started this blog in July of 2011. Dead Cells is the best indie game of all-time. And I can’t wait to play the game that will unseat it. It’ll be spectacular.

But seriously Motion Twin, fix your fucking game. You have the word “motion” in your name. You shouldn’t be sitting still on this for this long.

Dead Cells was developed by Motion Twin
Point of Sale: Xbox One, Nintendo Switch, PlayStation 4, Steam

$24.99 (really $49.98 since I bought it on XB1 & Switch) noted, and this really shouldn’t mean anything, but Dead Cells also has the single best trailer in gaming history in the making of this review. Watch it below.

Dead Cells is Chick-Approved and ranked on the Indie Gamer Chick Leaderboard. I mean, fucking duh. It’s #1. Kind of hard to miss its ranking.

Like the new Indie Gamer Chick Seal of Approval? It was designed by Kevin Willingham Creative. Hit them up for reasonable rates for your artistic needs.

Filed under Nintendo Switch Reviews, PC Reviews, PlayStation Reviews, Xbox One Reviews, Xbox Reviews Tagged with , , , , , , , , , , , , , , , , , , , , , , ,

Sigi: A Fart for Melusina

October 8, 2018 by 2 Comments

Everyone loves a good fart joke. I think it says something about us as a species. That we’ve designated this thing our bodies do that can’t be stopped as being both hilarious and offensive, mostly on the grounds that it comes out of the same hole we shit from. As a mental exercise, imagine if it was some other involuntary bodily function that we decided was “one of the rude ones.” Like blinking. We all blink, even those with most forms of blindness do it. On average, a person blinks every six seconds. Imagine if we decided collectively as a society that blinking was somehow crass but also comedy gold. Would Adam Sandler movies that are bombing with the audience fall back on blinking to get a reaction? Would bad ideas go over “like a blink in church”? These are the things that keep me up at night.

Anyway, the above paragraph was complete filler and totally unnecessary for the purposes of this review, but shit, this game is so simple and so easy that I had to talk about something. Sigi: A Fart for Melusina has the word “Fart” in the title and our hero (who looks exactly like Mario if Mario put on a suit of armor) farts at the end of every stage. Oh and the place you’re going to is called “Mount Stinkup” because “lulz, farts smell.” BUT, that’s the entirety of fart joke in a game that implies it’s going to center around fart jokes. Our hero does NOT use a fart based offense, enemies do NOT fart in retaliation or even when they die. So, like, I don’t get it? What did the fart stuff have to do with anything besides grabbing your attention on the marketplace page? Not that I’m a complaining. Farts are like the ninjas of humor: they strike so fast you barely realize you’ve been hit until it’s too late. That’s what’s funny about them. If you try to stretch that out longer than the length of a fart (my Dad once did one that lasted at least sixteen seconds. I wish I had a stopwatch at the time. It was truly dazzling, even if he walked funny for at least five minutes afterwards), the joke stops being funny. Sigi isn’t really all that funny. The hero sees a mermaid, farts, she flees, and then you give chase, until you rescue her from Hulk Hogan.

Ha, he’s old and racist. That’s somehow hilarious, I guess.

Yes, you read that correct. The last boss is Hulk Hogan. Because “LOL references!” I don’t get the correlation with farts. I mean, he is an old fart, but not famous for farting. I think. I’m not entirely sure if his sex tape is loaded with them. For all I know, maybe he’s dropping more than just N-bombs in it. Frankly, I really don’t care to watch to find out. If I wanted to see a decrepit old person have disgusting sex without knowing they’re being watched, I’ll hide in my parents closet. And I got over that phase a few months ago.

So, Sigi. The Mario in armor thing is fitting because it plays like a combination of Super Mario and Ghosts ‘n Goblins (what is with me and Ghosts ‘n Goblins tributes in 2018?), only without any semblance of difficulty at all. This might be the breeziest wide-release console platformer of the generation. You can use your Sir Arthur-style arsenal to hurl projectiles at enemies, or you can jump on their heads like Mario. You get three hits per a life, but extra lives are so common and the stages so short and easy that you’re likely to finish the game with a fairly large surplus. It’s like baby’s first platformer, only because of the barely existent fart-based humor, it has a T rating that would be discouraging for some prudish parents to let their young children play a game that is pretty much suitable only for them. God forbid Little Johnny learn that people break wind before he starts 1st grade.

There’s only twenty stages, four of which are boss fights, which even someone making no effort at all can finish easily in under 30 minutes. My very first run clocked in at under 24 minutes of total playtime. When I went back to find the S-I-G-I icons and hidden caves in the non-boss stages (each stage has one, except level 17 for some reason), plus four hidden treasures, I still only needed under 35 minutes to achieve a 100% finish with minimal effort and 900 total achievement points. And I realized during that run that Sigi: A Fart for Melusina really just isn’t very fun.

The screen is so shaky they should have called this “Ghosts ‘n Wobblins.”

I don’t know who Sigi was made for. Gaming veterans will find it too easy. Young children might not be allowed to play due to the T rating and the farting humor. There’s no adjustable difficulty, nor is there any option to disable an obnoxiously violent screen-shake that happens when you beat enemies. When I tweeted out a short video of the game, a lot of people questioned whether they’d even be able to play Sigi without getting a headache or motion sickness from it. I have photosensitive epilepsy and I had no issue with it, but not making this optional is an absurd oversight. But I’m not going to take that into consideration at all when making this verdict: Sigi is too easy, too simple, too stripped-down, and just such a nothing of a game. Visually, it looks great, and it’s cheap, and it’s quick. I had to think for quite a while whether I ultimately would give my readers the thumbs-up on it. It’s toeing the line of average, but sadly, I must ultimately conclude it’s toeing it from the wrong side. Sigi is fine, but in a way so unremarkable that I can’t recommended it over anything that aspires higher. On a scale of epic farts, Sigi is one of those tiny ones that someone could easily mistake for a shoe scuff.

Sigi: A Fart for Melusina was developed by Pixel.lu
Point of Sale: Xbox One, Steam, Nintendo Switch, PlayStation 4

$4.99 asked if they must have used a wrestler for the final boss, why not Andre the Giant? His gas was so legendary that HBO made a documentary about it in the making of this review. Well it was about other things he did, but we all watched for the farts.

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